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4-25-2003 Concert: Ithaca College Concert Band Ithaca College Concert Band

Mark Fonder

Kevin Zamborsky

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Recommended Citation Ithaca College Concert Band; Fonder, Mark; and Zamborsky, Kevin, "Concert: Ithaca College Concert Band" (2003). All Concert & Recital Programs. 3037. https://digitalcommons.ithaca.edu/music_programs/3037

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ITHACA COLLEGE CONCERT BAND Mark Fonder, conductor Frank Gabriel Campos*, trumpet Kevin Zamborsky, graduate conductor

11 Changes in the Winds 11

Variations on "America"(1890) Charles Ives (1874-1954) Transcribed by William E. Rhoads

Sketches on a Tudor Psalm (1971) Fisher Tull (1934-1994) Kevin Zamborsky, graduate conductor

Fantasy Variations on a Theme James Barnes by Niccolo Paganini (1989) (b. 1949)

INTERMISSION

Rose Variations (1955) Robert Russell Bennett (1894-1981) Introduction: The Garden Gate Theme: Carolina [wild] Rose Variation I: Dorothy Perkins [rambler] Rose Variation II: Frau Karl Druschki [white] Rose Variation Ill: Cinnamon Rose (with hummingbirds) Variation IV: American Beauty [red] Rose

Frank Gabriel Campos, trumpet Enigma Variations (1899) Edward Elgar (1857-1934) Scored for Band by Earl Slocum and Alfred Reed Them e Variation I: (C.A.E.) Variation II: (W.M.B.) Variation III: (R.P.A .) Variation IV: (G.R.S.) Variation V: (Nimrod) Variation VI: Finale (E .D.U.)

* faculty soloist

Ford Hall Friday, April 25, 2003 8:15 p.m. About the Artist

Frank Gabriel Campos is professor of trumpet at Ithaca College's Whalen Center for Music. He earned his bachelor's degree from California State University at Fresno and did graduate work at the University of North Texas where he won the Outstanding Masters and )utstanding Doctoral Student Awards, as well as the Hexter Prize for Outstanding Graduate. Mr. Campos is former principal trumpet of the Texas Baroque Ensemble, Dallas Chamber Orchestra, Bear Valley Festival Orchestra, and Madera Symphony Orchestra, and he has been a member of the Fort Worth Symphony, the Fresno Philharmonic, and the Monterey County Symphony. In addition, he is a former featured soloist with the University of North Texas One O'clock Lab Band, the Dallas Cowboys Band, and he has been a soloist at the Ottawa International Jazz Festival, the Montreux Jazz Festival, the Sacramento Jazz Festival, and others. He has performed with such artists as Natalie Cole, Johnny Mathis, Ella Fitzgerald, Bob Hope, and on the stages of Lincoln Center, the Kennedy Center, Constitution Hall, and New York's Town Hall. He has been a member of the Texas Brass Ensemble, Sonare Early Music Consort, the New York Early Music Society, the Skaneateles Summer Music Festival, and he is a founding member and former first trumpet of the Dallas Brass. Mr. Campos is ·urrently principal trumpet of the Binghamton Philharmonic, Tri- ~ities Opera, Ensemble X, and a member of the Ithaca Brass. He also performs with the Syracuse Symphony, Glimmerglass Opera, Central New York Jazz Orchestra and the Gap Mangione Big Band. He is a member of the Board of Directors of the International Trumpet Guild and serves as the editor and primary contributor for the 'Clinic' column of the International Trumpet Guild Journal. He is an active clinician, adjudicator, and soloist in both the jazz and classical idioms, and a Yamaha Artist.

About the Program

Composing or borrowing a simple theme and then somehow altering it by elaboration or embellishment represents the oldest of compositional processes. In fact, performers began varying themes long before composers sought ways to write these variations down. Tonight's ".Oncert is a journey into the many ways composers write themes and ariations. In three of the selections, the composers borrowed the theme. Two of the themes were original creations. Composers can vary a theme through changes in the melody, the harmony, the rhythm or the texture. While this concert represents only a small representation of themes and variations, it will be apparent that the changes in the winds can be extraordinary. Charles Ives wrote his witty and irreverent Variations on America for organ at age 16. Many of the variations are similar to the virtuoso comet theme and variations Ives heard coming from his father's town band, but there is some definite originality as well. This is his earliest surviving piece using polytonality. lves's father would not let him play the "canon in 2 different keys" variation at a recital because he deemed it unsuitable for performance in church. William Schuma wrote an orchestra transcription of this work in 1964 and it is this version upon which William Rhoads based this equally effective band transcription.

Fisher Tull's Sketches on a Tudor Psalm is based on a 16th century setting of the Second Psalm by Thomas Tallis. Its popularity is evidenced by its adoption by Ralph Vaughan Williams as the basis for this Fantasia for String Orchestra in 1910. The introduction sets the harmonic character by emphasizing the juxtaposition of major and minor triads. The theme is first presented by solo alto saxophone, continued by horns, and followed by a fully harmonized version in the brass. The variation begins to unfold in an allegro section with a melody in the clarinets which was constructed from the retrograde of the theme. Subsequently, fragments of the theme are selected for rhythmic and melodic transformation. A coda continues the development as the music builds to a triumphant close on a major chord~

Fantasy Variations on a Theme by Niccolo Paganini was commissioned by Col. John Bourgeois and the U.S. Marine Band. Since its premiere in 1989, it has been performed over 150 times by the Marine Band. Twenty variations, based m the theme of Paganini's 24th Caprice in A Minor (for solo violin) showcase every soloist and major section of the concert band. Although variations of this work were written for other media by both Brahms and Rachmaninoff, this is the first setting for wind band. James Barnes has composed numerous works for band and has been on the faculty of the University of Kansas since the mid-1970's.

Robert Russell Bennett was one of the most versatile composers of his time. He scored all or part of 300 Broadway shows. In his peak season he had 22 shows running concurrently in New York. He wrote over 30 film scores and won an Academy Award™ for his orchestration of the movie version of Oklahoma. He wrote for every medium from television to opera, from chamber music to symphonies, from org· sonatas to compositions for band. Rose Variations was written for the Goldman Band. Its charming musical variations m the theme also illustrate Bennett was an avid horticulturist. The Enigma Variations bore the dedication "To my friends pictured within." Originally written as a theme and 14 variations, Earl Slocum selected six for this famous transcription. Variation I is a study of the composer's wife, Caroline Alice. Variation II marches in with the furious energy of the country squire William M. Baker. Variation III takes as its subject a son of Matthew Arnold, organist of the Hereford , Cathedral. Nimrod is Variation V. In the Bible the great hunter is known as Nimrod; hunter translated in German is Jaeger. So the subject is A.J. Jaeger, publisher. This performance will feature the Nimrod arrangement of Alfred Reed. Variation VI is the nickname for Elgar himself, known only to his close friends. The immediate success of the work launched Elgar to the front rank of English composers.

Program notes by Norman E. Smith and Mark Fonder ITHACA COLLEGE CONCERT BAND Mark Fonder, conductor

Piccolo Alto Clarinet Trombone Tiffany Desmond Jessi Tranter Beth Biersdorf Andrea Shaut Flute Bass Clarinet Jeff Ball Lauren Avellino Larry Whitney Sarah Paradis Lisa Phillips James Darling Michelle Casareale Contrabass Clarinets Dan Whittemore Melissa W eirzbowski Amy Johnson Emily Selman Soyun Kil Cass Barbour Alto Saxophone Oboe Christine Kothe Euphonium Whitney Doorman Nolan Camp Beth Fredmund Cassie Winterhalter Jared J. Smith Esther Sackett Jessica Willett Jess Roberto Nicole Zawada Tenor Saxophone Michael Buckley Tuba English Hom William Plenk Jessica Willett Baritone Saxophone Diana Dodd Tim Rosenberg Bassoon Organ Nicole Kosar Comet/Trumpet Erik Kibelsbeck: Jennifer Meyers Kristen Meyers David VanGelder String Bass E-Flat Clarinet Greg Harris Patrick O'Connell Caryn Poulin Kevin Byrne Katie Clemmens Timpani Clarinet Abbey Clark Nicholas Galante David Minot Ian Rafalak Caryn Poulin Percussion Ben Smith Hom Patrick Roland Heidi Miller Karl Siewertsen Alyssa Cadwalader Jennifer Coleman Lynda DeWitt Katie Jurewicz Meghan McNamara Kara Pangburn Taryn Lott Kris Williamson Matthew Beale Ryan Socrates Jessica Shaw Billy Chou Amy Johnson Jessi Tranter Christy Voytko Coming Events

26 Noon All-Campus Band; Elizabeth Peterson, conductor 8:15 Wind Ensemble; Stephen Peterson, conductor 27 3:00 Chamber Orchestra, Choir, Madrigal Singers, soloists St. John Passion; Lawrence Doebler, conductor 28 7:00 Collaborative Piano Duos; Charis Dimaras, coach 8:15 Symphonic Band; Henry Neubert, conductor 29 7:00 Intergenerational and Children's Choirs 8:15 Symphony Orchestra & Chamber Orchestra; Jeffrey D. Grogan, conductor; Wei-Hsun Yuan, piano 30 8:15 Opera Workshop; Patrick Hansen, stage and music director May

1 8:15 Percussion Ensemble; Gordon Stout, conductor 2 7:00 Guest Recital; Glimmerglass Opera Young American Artists 17 8:30 Gala 36th Commencement Eve Concert (Gymnasium)

Ithaca College Concerts 2003-4 Preview (partial listing) Friday, October 3, 2003 Czech Philharmonic Chamber Orchestra Pavel Prantl, Artistic Director Richard Ormrod,Jiano Program: Prokofiev, Mozart, Husa, an Beethoven piano concerto Thursday, March 25, 2004 Sylvia McNair, soprano Ted Taylor, piano Program: Sondheim, Rodgers, Porter, Kem, Gershwin, and Arlen